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Download Article Advances in Social Science, Education and Humanities Research, volume 144 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017) On the Space-depiction Techniques of Chinese Traditional Architectural Drawings Peng Peng College of Architecture and Urban-Rural Planning Sichuan Agricultural University Chengdu, China Abstract—Ruled-line painting is the best foundation of Yuan Dynasty, the word “ruled-line painting” has been research on ancient Chinese buildings. From existing ruled-line widely used and accepted as well as become the painting painting works, it can be figured out that ruled-line paintings branch which takes buildings as subjects. In Notes of Nan of the Northern Song Dynasty have had a great breakthrough Village of Tao Zongyi, painting is divided into 13 categories, based on predecessors in the respect of manifestation with among which “ruled-line painting of buildings” ranks the regard to sense of space. A group of experienced painters of eighth as the drawing majoring in building subjects such as ruled-line painting at that time such as Zhang Zeduan, Guo palaces, towers, houses and the like. Meanwhile, in Zhongshu, Yan Wengui and the like know a lot about “subtle Appreciation and Evaluation of Paintings, Tang Hou said: principles” of “Same Proportion as Material Objects” and “When it comes to paintings, we will say that paintings have “Hundreds of Diagonals Gathered to One Point”, whose 12 categories with landscape painting taking the lead and works’ sense of volume, sense of space and sense of stability are universally superior to those of predecessors. Therefore, a ruled-line painting at the bottom.” Moreover, ruled-line form or framework of ancient architectural drawings basically painting is particular about accuracy of buildings’ shape and took shape at that time. In this paper, analyses on space- structure and lay emphasis on shaping sense of space. depiction techniques of Chinese traditional architectural “Drawing of Immortals’ Buildings by Guo Zhongshu” drawings before the introduction of Western perspective recorded in Painting and Calligraphy Album of Peiwenzhai theory are done through studying ruled-line paintings of Song gives us a feeling that we can walk into the painting and Dynasty. open and close its handrails, doors as well as windows, which reflects that architectural drawing at that time has Keywords—architectural drawing; ruled-line painting; achieved a great progress in the aspects regarding Hundreds of Diagonals Gathered to One Point; Viewing the stereoscopic impression and sense of space. As for how to Small from the Whole Perspective create buildings’ 3D sense of space on a 2D plane to achieve effect of “Feeling like Being Personally on the Scene”, just I. INTRODUCTION as what Guo Ruoxu of the Song Dynasty said in part one Architectural drawing, as its name implies, belongs to the “Talk on Model Production” of Overview of Painting: painting category with buildings as drawing objects. During “Drawing wooden houses should be done according to the the Wei and Jin Dynasties, painting with buildings as main same proportion as material objects with strong and fluent subjects was called painting of terraced building, just as what strokes and by gathering hundreds of diagonals to one point Gu Kaizhi of the Eastern Jin Dynasty said in Introduction of (parallel perspective) to create sense of space. Taking Famous Paintings of Wei and Jin Dynasties: “Though famous painters like Guo Zhongshu and Wang Shiyuan from buildings like terraced buildings and so on are complex, it is the time before the Sui, Tang and Five Dynasties to the easy to copy their shapes with wonderful effects, which can beginning of the founding concerning our country as be achieved without “Transformation in Imagination Brings examples, buildings in their paintings, whose four cornices Unexpected Acquisition.” It is also known as painting of and dougongs (a system of brackets in Chinese building; “wooden house”, painting of “balcony”, painting of “palace” wooden square blocks inserted between the top of a column and so forth in the painting history and painting theory of and a crossbeam.) can be seen clearly, are drawn with clear Tang and Song Dynasties. As what “Concerning figures, and well-balanced strokes in accordance with precise dress, carriages and horses and balconies, it owns essence of proportions, which quite conforms to rules.”, it is necessary painting techniques both in the southern part and northern to obey “Same Proportion as Material Objects”, “Hundreds part.” and “Among painting branches, painting of figures is diagonals gathered to one point (parallel perspective)” and the most difficult, painting of animals takes the second place, “One Diagonal Followed by Hundreds of Diagonals”. painting of landscapes the third and painting of buildings the However, here come the questions: What kind of perspective last.” mentions, architectural drawing became an techniques are “Same Proportion as Material Objects”, independent category in the Song Dynasty. In the period of “Hundreds diagonals gathered to one point (angular Emperor Huizong in Song Dynasty, painting philosophy was perspective)” and “One Diagonal Followed by Hundreds of established with six branches, namely Buddhism, figures, Diagonals” specifically representing? What “rules” do they landscapes, animals, plants and wooden houses. Since the Copyright © 2017, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 306 Advances in Social Science, Education and Humanities Research, volume 144 conform to? There are no more written records in ancient with shift of scenes”, have almost perfectly solved this books. problem. Based on perspective rules, figures overlooked from high visual angel transform quite a lot, so multi- II. MULTI-VIEWPOINT OBSERVATION AND DEPICTION viewpoints are often used in ancient rule-line paintings to put TECHNIQUES figures of eye level into the background which is slightly As we all know, principles of perspective are established overlooked. For instance, in Along the River During the on the premise of building points of sight. According to Qingming Festival, all figures appear as the images obtained painting traditions, “Focus Perspective” is usually used in from eye-level angle and with similar sizes as well as Western paintings, that is, an observer fixes a viewpoint and proportions, no matter they are sitting or standing and they accurately records things within his field of vision. Though are far or near. This problem is also talked about in Pan this kind of perspective rule has been referred to in theory of Tianshou’s Theory of Painting: “ By using bird’s-eye ancient Chinese painting for many times, there is basically perspective with an angle similar to 45°, long, straight and no spatial processing techniques concerning focus narrow garden are drawn and arranged, which makes perspective appearing in Chinese traditional drawings sceneries layered and have depths. However, this kind of including the ruled-line paintings which can show spatial perspective will cut the length of figures, which makes relationship in the best way. The classic work of ruled-line figures different from those from eye-level perspective and painting in the Song Dynasty, Along the River During the makes viewers uncomfortable. Therefore, painters of our Qingming Festival, is drawn by adopting the perspective country also put eye-level figures to the layout done through angle of looking down from high place and moving point of perspective of bird’s-eye view, which not only enables sight to break the restrictions of visual range. It makes landscape to be layered but keeps figures in similar shape to everyone feel like being guided to walk into the wharf of daily images.” Since figures observed from high place are Bian River and street along the river from the suburbs of quite different from those of daily life, eye-level angle is Bianjing (Municipality of Kaifeng today), then we reach the always used to process images such as figures and carriages Rainbow Bridge of the Bian River and continue walking into and horses, which, despite figures’ position in the picture, city along the main road at this end of the bridge, and finally enables figures to mostly appear in the eye-level state we stop in the downtown street, which is just the feeling that without changes caused by looking up or looking down. If we are personally in this place for living and travelling. careful observations are conducted, it is also easy to discover Meanwhile, this kind of observation method is mentioned by that steps and stairs of buildings in ruled-line paintings of the Guoxi of the Song Dynasty in The Lofty Message of Forest Song Dynasty are always processed as wide at the top and and Streams: “Mountains’ shapes in my eyes vary with narrow at the bottom as if we are looking down from the changes of the distance between me and the mountains, that steps in the drawing. Meanwhile, in works of ruled-line is, mountains’ shapes vary with steps. Moreover, mountains’ painting, nearly all tables and chairs, wooden benches, beds shapes vary with changes of the side we chose to face, that is, and furnishings are processed in the light of this way and mountains’ shapes vary with sides. Since a mountain has take on the inverse perspective effect of “the farther, the hundreds of shapes, it is hard to know clearly what on earth longer”. The reason, for my part, is related to painting habits the mountain is like.” To distinguish Chinese painting from mentioned before. For there is no fixed viewpoint, images Western painting in perspective technique, this kind of obtained from various viewpoints are gathered together. We observation methods, namely “Mountains’ Shapes Vary with can make a hypothesis that the painter enters the drawing to Steps” and “Mountains’ Shapes Vary with Sides”, is called finish it as if he is looking down by standing on the steps scattered-point perspective.
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